Crispin Robjent: the enduring appeal of portraiture

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Portrait painter Crispin Robjent talks to Sue Ward about his work

I saw some of Crispin Robjent’s portraits before meeting him, and assumed these works had been done by a very mature established artist. I therefore had quite a surprise when I met a reserved, young-looking 33-year-old. Crispin grew up in Norfolk and is the son of the respected wild-life artist Richard Robjent. Crispin says that as a child he would witness his father at work in the studio at home and was therefore surrounded by creativity. After winning the senior art prize at Oundle School he then went on to the Norwich School of Art and Design before going to train as a portrait artist at the Charles Cecil Studio in Florence. There, students are schooled in a rigorous programme of life drawing, still life, plaster-cast drawing and portraiture. Crispin now lives in Norwich where he has a studio and takes on portrait commissions.

Sue Ward: At what age did you discover you could capture people’s likenesses on paper? Were you a sporty child, or one who liked to be somewhere ‘scribbling’!

Crispin Robjent: No, not sporty! I think I like the idea of being sporty but have to admit that I'm not. As for always scribbling – most definitely! I seem to remember that from the age of about seven drawing or 'doodling' was my natural state. Of course, any other subjects or activities were endured more than enjoyed!

SW: When did you decide you wanted to be a portrait painter and was your father’s influence instrumental in this decision?

CR: I first began actual portraiture in my last year at school. What drew me to it then I don't know, although I know clearly what appeals to me about it now. My Foundation Course allowed me to try everything that I soon realized I didn't want to do, and by the end I was always painting people in one way or another. As soon as I got a taste of the ethos and teaching at the Charles Cecil Studios in Florence, where I was to train for three years, I never looked back. It was here that I was to learn the techniques used by the old masters and to gain an understanding of their aesthetic ideals. Portrait and figure painting were emphasized and this suited me perfectly.

My father was always open to the idea of my being an artist, but I never felt any pressure in that sense – my ambition always came from inside myself. Interestingly, I've recently begun collaborating with my father on some paintings which combine the best of each of our strengths.

SW: I see one of your paintings is of yourself, painting your Mother. Did you mainly paint family and friends in your early days?

CR: Yes, there was a lot of that early on but they all seemed to relish it! I've never found it difficult to persuade people – even people I don't know – to sit for me. I think its part of the fact that portraiture has such a universal, enduring appeal.

SW: Is oil your favourite medium and if so why?

CR: Being rather single-minded – translate that as 'obsessive' if you will – I've never tired of the learning process involved in using oil paint. Obviously it's very versatile, and has a rich history that continues to inspire me.

SW: How do you make your subjects relax, do you talk to them, play music – what?       

CR: Well, there's no perfect solution to that that I've found! Many times I've experienced the infuriating extremes of sitters falling asleep to the dangerous degree of nearly falling off their perch, or being so fidgety and nervous that they refuse to keep still even for a moment!

SW: How many sittings does a portrait usually take?

CR: Anywhere between 5 and 20 – or upwards if I'm allowed! The longest was for a life-size full-length portrait for which the poor subject had to stand for six weeks, sometimes for six hours a day.

SW: A difficult question, but which portraits are you particularly proud of and why?

CR: I particularly enjoy the challenge of painting portraits for subjects who also wish to have depictions of some of the things close to their heart included within the picture. These could be a combination of objects that have a particular meaning to the subject, the place where they live, references to their academic or professional achievements, a cherished pet, and so on. The difficulty with this is the conflict between combining some often-disparate things within the portrait, while making the composition look attractive as well as believable. When it works it can be very satisfying. The image of the portrait of Mr Peter de Vinc is an example of this.

More simple, but no less difficult, is being able to capture the spirit and sense of vitality of someone, condensed into a single moment. The portrait of Tamasin is one of my favourite examples of this.

SW: What are your long-term aims and ambitions?

CR: My ambition has always been to try to perfect my art. If I can continue to do this whilst also making a living from it, I shall be very happy! If there was also a way that I could pass on some of what I've learnt to other budding artists, I think I would relish the opportunity to do so.

SW: Crispin, thank you for talking to Cassone.